Bounce flash: The flash even if attached to the camera, is directed upwards to a light coloured ceiling. This reflected light gives soft illumination over the whole scene, eliminating any cast shadow on the background. The lighting is quite soft and almost resembling natural lighting under an overcast sky - eminently suitable for portraits. Bounce light does not fall off as rapidly as direct flash.

The flash should not be bounced too steeply upwards producing a bright circle of light directly above the subject. This acts as a top lighting, casting shadows in eye sockets and tending to emphasize wrinkles and warts.

Background Light10: Background light's purpose is to help provide tonal separation between the subject and the background. The background light is placed between the subject and the background and its exact placement will depend on the effect desired. The light should be covered by the subject's body and in no case seen by the camera lens.

Hair Light11: Head is frequently highlighted by a light from behind or the side, never over the hair into a small hard patch.

The two features, which outwardly seem to control expression, are the eyes and the mouth. The eyes mirror the subject’s character – inner personality. Usually, it is better to have eyes looking in the direction towards which the head is turned, with only the slightest departure from a normal level gaze. Otherwise it will give a faraway look and lose brilliance. The eye near to the camera should always be in focus. The eye sockets should be well illuminated and there should be catch-lights in the eyes. To break up a stare or screwed up expression, ask the subject to close the eyes for a few seconds and then open.

The mouth is a very mobile expressive feature capable of conveying the whole range of feelings. Hands can be as expressive and communicative as the face and can form an interesting and revealing part of a picture. The hands play a crucial role by their position in relation to the head to give balance to the composition. Let the subject hold something suitable – handbag, fan, spectacles, book, etc.

A good child-picture is seldom posed. The un-self-conscious and unprompted child gives infinite variety of poses exhibiting expressions of wonder, liveliness, surprise, innocence, etc. Success with children hinges on tactful and sympathetic interaction to their everfleeting moods and fancies. Too much of direction can over-awe a carefree child to be self-conscious, afraid and un-cooperative.

Every human face has certain peculiarities of feature. However, while making a pictorial portrait, one can make use of these. Even very ordinary features have some angles that are more pleasing than others – emphasize them. To make the best of what is in front of the camera, slight adjustment of head and camera has its effect on the features. A long nose looks longer if the head is tilted down; a short nose looks shorter if the head is raised. A broad nose looks broader if taken full front to the camera with shadow-less lighting. Turning it sideways and putting part of it in shadow seemingly reduces its width. Avoid having the tip of the nose coincide with the contour of the cheek or project only slightly beyond it.

For head-and-shoulders portrait keep optical axis of the lens at the height of the subject’s lips and tip of the nose. By placing a camera slightly lower the level of eyes of the subject apparently adds to his height and dignity. Raise the camera above the center of the face to help elongate the nose, narrow the chin, reduce fullness of the jaws, or broaden the forehead. Lower the camera if it is advisable to shorten the nose, reduce the width and height of the forehead, or accentuate the chin and neck. Long neck requires a high viewpoint to make it appear shorter. Hair will make the face appear longer if curved over cheeks or combed off forehead.

The photographer studies closely the features of face of the subject, to make a “living” portrait by not only idealizing but, if need be, by emphasizing the facial oddities. To create ‘character study’ the pictorial photographer attempts to depict subject’s characteristic likeness by judiciously combining: (a) proper posing, (b) effective lighting and (c) instinctively positioning of camera appropriately.

Finally, a good portrait is that which captures some individualism in the subject. It is a consciously created image of the subject. The personality of the sitter, the environment, the composition, and the choice and quality of lighting all contribute to the final result.

Portraiture: Helpful Tips on Corrective Steps

The primary goal in portrait photography is to possibly present the subject in a favourable manner. It is rare to find in an individual some one or more aspects, which will not provide an agreeable and interesting portrait. Watch for and find by turning him from full face to profile and capture it.The problem is combining the pose, lighting, and camera viewpoint to show the subject to best advantage. Because the photogenic qualities of each person's face vary, certain corrective techniques in posing, lighting, and camera heights can be used to improve the quality of the portrait. Changing the camera viewpoint, combined with proper lighting and pose, can create amazing alteration in the pictured appearance of any face.The following corrective techniques can be used to correct common problems. A challenge to the portraitist occurs when the subject's facial structure requires employing more than one of these corrective measures and procedures at the same time. The best remedy may often be to use only the most effective of the two. While making a ‘pictorial’ portrait one may wish to make use of one or more of these irregularities.

Corrective Treatments

Full FaceFace has a more rounded appearance when head is raisedFace has lengthening appearance when it is lowered

Double Chins and Heavy/Round FaceAsk the sitter to lean and stretch forward as if to touch the camera with the tip of their nose.Avoid low camera angles.Shoot three-quarter view, light side of face away from cameraUse three-quarter or side lighting

Thin FaceShoot front, full faceUse low three-quarter or side lighting

To make Face appear widerCover the neck with hairEars exposedHair low on forehead

To make Face appear longerHair curved over cheeksHair combed off forehead

Square FaceUse high-camera viewpoint

Oval Face with a weak ChinUse low-camera viewpoint

Wide ForeheadUse low-camera viewpointTilt chin upward

Narrow ForeheadUse high-camera viewpoint

BaldnessUse low-camera viewpointLittle or no hair light, blend head with background

Prominent EarsUse short lighting in a 2/3rd view of the face.Turn the head until the far ear is totally hidden.

Small EarsTurn head so camera sees only one earPlace exposed ear in shadow

Large EarsTurn head so camera sees only one earPlace exposed ear in shadow

Protruding EarsTurn head so camera sees only one earPlace exposed ear in shadowShield light from exposed earBlend ear into background

High CheeksUse low front or side lighting

Wide CheeksShoot three-quarter pose

Prominent NoseShoot straight into the tip of the nose.Raise the face as needed.Avoid high camera angles.Use low-camera viewpointUse three-quarter or side lightingApply dark makeup to tip of nose

Long NoseUse low-camera viewpointUse three-quarter or side lightingApply dark makeup to tip of nose

Short NoseUse high-camera viewpointUse front lighting

Hooked NoseShoot from a low-camera viewpointShoot front, full face

Crooked NoseShoot from the side to which it curvesTurn head until highlight along ridge of nose appears straight

Broad NosePose head away from a front view

Uneven MouthPose head in three-quarter view

Narrow MouthUse lip color to extend lip lineTurn head to one side so makeup is not apparentPosition modeling light high to cast shadows at ends of lips

Wide MouthPose head in three-quarter view

Protruding LipsUse low-modeling light to eliminate shadow under lips

Thin LipsFill out with lip color

Poor or Crooked TeethAvoid cross lighting.Include poses with a pensive, closed mouth expression.Reassess the teeth under various lighting angles, looking for protrusive and uneven teeth.

Uncontrolled BlinkingCaused primarily by the "flinch" after hearing the noise of the camera prior to the exposure. Try using the mirror lockup setting.

Lazy or Weak EyeAsk the subject to look at an object located in a distant corner of the camera room can often solve the problem.

Deep Set EyesTry lowering the key light.Looking up slightlyAvoid high ratio lighting.

Small EyesShoot three-quarter poseUse three-quarter lighting so the eyes are in shadow

Large or protruding EyesUse high three-quarter lightingLower eyes slightly

Deep set EyesLow-camera viewpointUse front lighting to keep eyes out of shadow

Uneven EyesTurn head toward one side so natural perspective eliminates uneven appearance

Bags under EyesUse makeup. Use front lighting

Cross Eyed or defective EyeTurn head so bad eye is away from camera.Light side of face toward camera to place other eye in shadowGlasses and EyewearRaise the key light much higherUse high front, three-quarter, or side lighting to eliminate reflectionsRaise the temple piece up slightly to angle lenses down tilt head downwardTilt the glasses and raise the earpieces slightly above ears (the ear pieces can be hidden into the long hair of the subject).Shoot full-face pose to prevent lenses from splitting cheek lineUse indirect diffused lightingRemoval of lenses from the frames,

Facial blemishesKeep in shadowTurn bad side of face from cameraApply makeup to a pimple or sore spot

3 comments:

Very wonderful detailed tutorial by KG Maheshwari. Thanks for sharing such a knowledgeable concept behind portraiture. Keep sending and posting tutorials.Thank you Dr. Pankaj Sharma for sparing time and posting.

About Pankaj Sharma

Born in Bareilly, U.P (India) in February, 1969, Dr. Pankaj Sharma’s penchant for photography had developed at a very young age. Very soon it became his passion after he acquired Diploma in Photography from MJP Rohilkhand University, Bareilly in 1993. In subsequent years various photographic activities and achievements became integral part of his life . He has to his credit 6 solo, 2 joint and around 15 group exhibitions. He has got a number of awards in reputed photography competitions, including U.P State Lalit Kala Academy Award, 2011 and National Photography Award-2012 by Ministry of Information and Broadcasting, Govt. of India. He is amongst a few in India, who have been honoured with Associateship of India International Photographic Council, New Delhi; Fellowship of Federation of Indian Photography, Kolkata and Associateship of Image Colleague Society-California-USA.
He loves to help the beginners.
Contact: pankajbpcl@rediffmail.com
pankajsharma.bareilly@gmail.com